[1] G.R. Thompson, "Introduction: Romanticism and the Gothic Tradition," The Gothic Imagination: Essays in Dark Romanticism (Pullman: Washington State University Press, 1974), p.7.

[2] Philip P. Hallie has organized the basic elements of gothic fiction and explained them extensively in his chapter on "Horror and the Paradox of Cruelty" in The Paradox of Cruelty (Middletown: Wesleyan University Press, 1969), pp. 63-84. For more information about the gothic see Thompson, The Gothic Imagination, p.7; Devandra P. Varma's The Gothic Flame (New York: Russell and Russell, 1966); Eino Railo's The Haunted Castle: A Study of the Elements of English Romanticism (New York: E.P. Dutton and Co., 1927); and Montague Summers' The Gothic Quest: A History of the Gothic Novel (New York: Russell and Russell, 1964).

[3] The Gothic Imagination, p. 4.

[4] Leslie Fiedler, Love and Death in the American Novel (New York: Dell Publishing Company, 1966), p. 132.

[5] Rudolf Otto, The Idea of the Holy: An Inquiry into the Non-Rational Factor in the Idea of the Divine and its Relation to the Rational, trans. John W. Harvey (New York: Oxford University Press, 1924), p. 31.

[6] S.L. Varnado, "The Idea of the Numinous in Gothic Literature," The Gothic Imagination, p. 12.

[7] Edmund Burke, A Philosophical Enquiry into the Origins of Our Ideas of the Sublime and Beautiful (Notre Dame: University of Notre Dame Press, 1971), p. 39.

[8] Ibid.

[9] David R. Saliba, A Psychology of Fear: The Nightmare Formula of Edgar Allan Poe (Lanham: University Press of America, 1980), p. 31.

[10] Burke, p. 72.

[11] See footnote 2.

[12] John E. Mack, Nightmares and Human Conflict (Boston: Houghton Mifflin Company, 1974), p.2.

[13] Ibid., p. 12.

[14] Ibid.

[15] See especially H. Gastant and R. Broughton, "A Clinical and Polygraphic Study of Episodic Phenomena During Sleep," Recent Advances in Biological Psychiatry, ed. J. Wortis (New York: Plenum, 1965), VII, 197-221; and R. Broughton, "Sleep Disorders: Disorders of Arousal?" Science, 159 (1968), 1070-8.

[16] Carl G. Jung, The Portable Jung, ed. Joseph Campbell and trans. R.F.C. Hull (New York: The Viking Press, 1971), p. 68.

[17] cf. R.H. Holt, "On the Insufficiency of Drive as a Motivational Concept, in Light of Evidence from Experimental Psychology." Paper presented at the meeting of the American Psychoanalytic Association, December 15,1967; and H. Dahl, "Psychoanalytic Theory of the Instinctual Drives in Relation to Recent Developments." Panel Report. Journal of the American Psychoanalytic Association, 16 (1968), 613-37.

[18] Mack, p. 16.

[19] James Hillman distinguishes between "dream-ego" and "waking-ego": "the dream-ego and the waking-ego have a special 'twin' relationship; they are shadows of each other, as Hades is the brother of Zeus. But the 'I' in the dream is no secret stage director )Schopenhauer) who wrote the play he acts in, no self-portrait photographer taking his own snapshot from below, nor are the wants fulfilled in a dream the ego-s wishes. The dream is not 'mine,' but the psyche's, and the dream-ego merely plays one of the roles in the theatre, subjected to what the 'others' want, subject to the necessities staged by the dream," pp. 102-3.

[20] Ibid., p.212.

[21] The Portable Jung, p.75.

[22] cf. Mack, especially pp. 183-4.

[23] Mack, p. 152.

[24] G.R. Thompson's evaluation of Poe's artistic method supports myu contention that Poe's is a nightmare fiction: "Poe seems very carefully to have aimed at the ironic effect of touching his readers simultaneously on an archetypal irrational level of fear and on an almost subliminal level of intellectual and philosophical perception of the absurd," Poe's Fiction: Romantic Irony in the Gothic Tales, (Madison: The University of Wisconsin Press, 1973), p. 14.

[25] Mack, p. 94.

[26] Ibid., 93-4.